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MASTERS  IX  ART  PLATE  I 

^hOTOONAPh  av  BRAUN,  CICUCNT  & CiC 


[25.->] 


TENTERS  THE  YOCXGER 
THE  SMOKER 
LOUVRE,  PARIS 


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POUTHAIT  OK  TKXIKHS  TIIK  YOl’XGFH  IIY  IIIMSKLK 
HOYAL.  GALLtUtY,  OHKSiJKX 

Teniers  was  very  fond  of  painting  his  own  portrait,  sometimes  alone,  but  more  often 
with  either  his  first  or  his  second  wife  and  some  of  their  children,  invariably  finely 
clad.  He  has  represented  himself  as  an  alchemist,  aged  and  infirm,  in  a picture 
painted  ten  years  before  his  death  (now  in  Munich),  but  this  picture  shows  the 
painter  in  his  youth,  in  the  height  of  his  powers. 

He  has  chosen  here  to  paint  his  own  portrait  in  the  figure  of  a young  man  seated 
in  the  interior  of  a tavern,  glass  and  jug  in  hand,  evidently  about  to  pour  himself  a 
glass  of  beer.  It  shows  us  a very  artistic  face,  with  eyes  set  far  apart,  low  forehead, 
and  long,  curling  brown  locks,  but  of  a decidedly  Flemish  tyjw. 

[274] 


I 


MASTERS  IN  ART 


S'cuiers  \\)t  Mouitcjcr 

BORN  IGIO:  DIED  16  9 0 
FLEMISH  SCHOOL 

David  TENIERS  the  younger  (pronounced  Ten'yerz)  ranks  first, 

without  doubt,  amongst  the  genre-painters  of  the  Flemish  Low  Coun- 
tries. He  was  born  in  Antwerp  in  i6io,  and  was  baptized  on  December  15. 
in  the  Church  of  St.  Jacques.  His  mother  was  Dympne  Cornelissen  di  Wilde, 
or  simply  Dympne  Hendrix,  daughter  of  Cornsille  Hendrix,  surnamed 
Platvoet,  or  flat-foot,  who  was  a captain  on  the  Escaut,  and  was  afterwards 
made  an  admiral.  His  father  was  the  painter  known  as  David  Teniers  the 
Elder.  He,  in  his  turn,  was  a child  by  a second  marriage  of  Julien  Tenier  or 
Teniers,  who  was  made  a citizen  of  Antwerp  in  1558,  and  plied  the  trade  of 
mercer.  Tenier  is  a Flemish  version  of  the  Walloon  Taisnier,  the  name  of 
his  grandfather,  who  came  originally  from  Arth  in  Hainault.  Dr.  Bode  claims 
that  his  earliest  pictures  were  signed  Tenier,  omitting  the  final  s,  and  it  is 
under  this  signature  that  his  father,  brother,  and  four  sons  were  inscribed  in 
the  Guild  of  St.  Luke. 

Teniers  the  Elder  was  a pupil  of  Rubens  and  Adam,  of  Frankfort,  known 
as  Elzheimer.  There  is  no  record  anywhere  of  when  Teniers  the  Younger 
began  his  apprenticeship  or  who  were  his  teachers,  but  we  must  decide  the 
question  from  internal  evidence.  As  one  biographer  has  said,  “This,  how- 
ever, was  no  doubt  his  father,  of  whose  style  the  son’s  is,  in  fact,  a sublima- 
tion.” Some  of  his  earlier  pictures  can  scarcely  be  distinguished  from  those 
of  his  father. 

Other  critics  have  tried  to  prove  that  he  was  a pupil  of  Adrian  Brouwer 
and  of  Rubens.  But  as  the  first  cannot  be  proved,  it  is  in  all  probability  as 
Smith  and  Wauters  think, — that  he  simply  tried  to  imitate  the  style  of  a 
painter  whose  works  were  much  in  vogue  in  his  youth.  And  although  not  a 
pupil  of  Rubens,  he  owed  him  the  direct  inspiration  of  his  art. 

As  Michiels,  writing  of  Teniers,  has  said,  as  regards  “the  obligations  of 
Teniers  towards  the  author  of  the  ‘Descent  from  the  Cross,’  they  are  cer- 
tainly very  strong.  Peter  Paul  must  exercise  in  all  directions  a fertile  influ- 
ence: the  light  which  spread  over  his  genius  did  not  touch  any  point  without 
carrying  there  light  and  heat.  His  Kermesses,  his  landscapes,  his  sketches, 
light  and  harmonious,  inspired  Teniers  the  Younger,  furnished  him  the  ele- 
ments of  his  style;  it  is  to  Rubens  that  he  owes  in  particular  his  effects  of 
[27  5] 


! 


I 


24 


MASTERS  IN  ART 


color,  the  transparence  of  his  tones,  the  fineness  of  his  touch.”  There  are  in 
fact  some  early  pictures  by  Teniers  of  an  historical  or  religious  character, 
more  or  less  mediocre,  which  show  an  evident  imitation  of  Rubens.  Such  are 
‘The  Holy  Family’  in  the  Chateau  of  Schleisshem  and  a series  of  pictures  illus- 
trating the  ‘Life  of  the  Virgin’  in  the  same  chateau,  a series  of  religious  pic- 
tures in  the  Imperial  Gallery  of  Vienna,  some  cartoons  done  in  conjunction 
with  his  father  for  some  tapestries  representing  the  Turriani  of  Lombardy, 
from  whom  are  descended  the  house  of  Tour-Taxis.  But  in  much  better 
taste  and  of  much  finer  quality  are  ‘Perseus  and  Andromeda,’  ‘Achilles  recog- 
nized by  Ulysses,’  ‘St.  George  and  the  Dragon,’  ‘Latona  revenged,’  scattered 
in  various  private  collections. 

Michiels  has  pointed  out  two  landscapes  in  the  Louvre  which  establish 
the  indebtedness  of  Teniers  to  Rubens.  One  by  Rubens  represents  a figure 
of  a peasant  in  a broad  landscape,  illuminated  by  the  morning  light;  the  other, 
a group  by  Teniers,  seated  drinking  before  the  door  of  a rustic  inn  bathed  in 
the  soft  evening  light.  Both  have  the  same  misty  atmosphere,  the  same 
autumn  tints,  red,  yellowy  and  dull  blue,  and  the  same  light  and  facile  tech- 
nique. 

In  1632-33  he  was  admitted  as  master  to  the  Guild  of  St.  Luke,  in  the 
quality  of  the  son  of  a painter.  Some  critics  have  tried  to  prove  that  he  was 
unsuccessful  in  the  very  beginning  of  his  career,  because  of  the  popularity  at 
the  time  of  the  more  dramatic  compositions  of  the  school  of  Rubens,  and  w'as 
obliged  to  go  to  Antwerp  to  sell  his  pictures.  This  seems  scarcely  probable, 
for  he  was  so  far  established  in  his  profession  as  to  be  married  in  1637,  and 
long  before  this  date  he  had  painted  some  of  his  most  charming  pictures. 

Henri  Hymans,  conservateur  of  the  Bibliotheque  Royale  of  Brussels,  in 
his  article  in  the  ‘Encyclopaedia  Britannica’  says,  ‘‘A  group  of  topers  in  the 
Munich  Gallery,  as  well  as  a party  of  gentlemen  and  ladies  at  dinner,  termed 
the  Five  Senses,  in  the  Brussels  Museum  . . . are  remarkable  instances  of 
the  perfection  attained  by  the  artist  when  he  may  be  supposed  to  be  scarcely 
twenty.  His  touch  is  of  the  rarest  delicacy,  his  color  at  once  gay  and  harmo- 
nious.” 

On  July  22,  1637,  he  was  married  to  Anne  Brueghel,  a daughter  of  Jan 
(Velvet)  Brueghel  and  a w'ard  of  Rubens,  who  was  one  of  the  witnesses  at 
the  marriage.  Anne  had  been  baptized  in  1620,  so  that  she  was  only  seventeen 
years  of  age  at  the  time  of  her  marriage.  Teniers  was  said  to  have  had  very 
pleasing  manners,  and  these,  together  w'ith  his  talents,  enabled  him  from  the 
first  to  associate  w ith  men  of  note  and  position.  He  occupied  a much  higher 
social  position  than  was  customary  wdth  painters  of  genre.  He  seems  to  have 
been  on  very  friendly  terms  with  the  family  of  Rubens,  for  Helena  Fourment, 
Rubens’s  second  wife,  acted  as  godmother  to  his  first  child,  who  bears  the 
name  David  Teniers  Third  in  the  history'  of  art. 

He  was  slightly  over  thirty  when  the  Guild  of  St.  George  of  Antwerp 
ordered  him  to  paint  for  them  ‘The  Jubilee  Meeting  of  the  Civic  Guards,  in 
honour  of  their  old  commander,  Godfrey  Snyders’  (see  plate  v).  This  pic- 
ture is  one  of  the  most  considerable  our  artist  ever  painted,  and  is  considered 
[276] 


TENIERS  THE  YOUNGER 


25 


by  many  to  be  his  chef-d’oeuvre.  After  passing  through  many  hands,  it. finally 
found  its  way  to  the  Hermitage  Gallery,  St.  Petersburg. 

In  the  same  year,  1643,  he  painted  a picture  now  in  the  National  Gallery, 
London,  known  as  ‘Le  Fete  aux  Chaudrons,’  an  equally  beautiful  repetition 
of  which,  dated  1646,  belongs  to  the  Duke  of  Bedford.  “A  work  like  this,” 
says  Waagen,  “ stamps  its  author  as  the  greatest  among  painters  of  this 
class.” 

In  1644  the  Common  Council  of  Antwerp  made  him  Dean  or  Doyen  of  the 
Guild  of  St.  Luke.  His  election  to  this  office  was  largely  due  to  the  success  of 
two  beautiful  pictures  painted  by  him  and  now  in  the  Louvre,  ‘The  Prodigal 
Son’  (plate  iv)  and  ‘The  Smoker’  (plate  l).  But  perhaps  the  most  signifi- 
cant event  in  the  painter’s  career  was  the  fact  that  the  archduke,  Leopold 
William,  Governor  of  the  Spanish  Netherlands,  made  him  Groom  of  the 
Chambers  and  Court  Painter,  including  the  directorship  of  his  picture-gallery 
installed  in  the  palace  at  Brussels.  These  duties  required  the  painter’s  re- 
moval from  Antwerp  to  Brussels,  which  took  place  between  the  years  1648  and 
1652.  In  Antwerp  the  painter  had  lived  with  his  family  on  the  Longue  Rue 
Neuve  at  the  house  of  the  Sirene,  so  named,  as  it  was  the  custom  in  his  time 
to  designate  houses  in  some  such  way.  This  house  is  said  to  have  sheltered 
three  generations  of  painters.  Jan  Brueghel,  the  father-in-law  of  Teniers, 
inhabited  it  in  the  first  place,  then  Teniers  himself,  who  ceded  it  again  to  his 
son-in-law,  Jan  Erasme  Quellin. 

In  Brussels  at  first  he  seems  to  have  built  himself  a fine  house  near  the 
palace  in  the  Rue  des  Juifs  in  the  parish  of  Coudenberg.  A legal  document 
states  that  it  was  a spacious  residence  with  stables  and  other  dependencies, 
where  doubtless  many  of  the  illustrious  people  of  the  day  were  wont  to  as- 
semble. He  seems  to  have  soon  abandoned  it  for  the  chateau  and  estate  of 
Dry  Toren  (Three  Towers),  near  Perck,  between  Malines  and  Vilvorde, 
which  he  purchased  of  Helena  Fourment,  widow  of  Peter  Paul  Rubens.  Its 
three  slender  towers  become  very  familiar  to  us  through  the  many  pictures 
in  which  he  places  it  in  the  background.  He  often  represented  it  as  the  main 
theme  in  his  landscape  (see  plate  ii),  where  he  and  his  wife  and  children, 
elegantly  dressed,  appear  upon  the  canvas,  with  the  peasants  doffing  their 
caps  before  them. 

Among  his  duties  as  director  of  the  archducal  picture-gallery  was  the  pur- 
chase of  pictures.  He  was  sent  to  England  by  the  Duke  of  Fuenseldagna, 
Lieutenant  of  Leopold  William,  on  the  dispersal  of  the  collection  of  Charles  i. 
and  the  Duke  of  Buckingham,  to  buy  all  the  Italian  pictures  he  could  lay  his 
hands  on.  Teniers  also  set  himself  to  make  copies  of  the  originals.  Some 
historians  claim  that  his  copies  were  such  faithful  reproductions  that  the 
authors  of  the  pictures,  could  they  have  seen  them,  could  hardly  have  distin- 
guished the  copies  from  the  originals.  On  the  other  hand,  it  is  affirmed  that 
his  “touch  alone,  independent  of  the  expressions,  would  suffice  to  show  the 
deception.”  He  also  made  engravings  of  the  originals,  and  In  1660,  after  the 
Archduke  Leopold  William  had  been  sent  from  the  Low  Countries  to  Vienna, 
whither  he  took  his  collection  of  pictures,  Teniers  issued  these  engravings 
[277] 


26 


MASTERS  IN  ART 


under  the  title  of  ‘The  Theatre  of  the  Pictures  of  David  Teniers.’  Two  hun- 
dred and  forty-six  subjects  were  represented,  for  the  most  part  rather  medi- 
ocre, for  the  handling  lacks  clearness,  the  artist  having  sought  above  all  to 
render  the  effects  of  chiaroscuro.  At  least  three  times  Teniers  painted  the 
interior  of  this  picture-gallery,  with  minute  copies  of  the  individual  pictures, 
which  it  has  been  the  delight  of  connoisseurs  ever  since  to  try  and  identify. 
In  the  one  in  Brussels,  the  duke  and  his  attendants  have  just  entered  the 
gallery,  and  our  artist  is  showing  him  some  plates  of  the  pictures,  which  he 
has  made.  In  the  one  in  Vienna  a picture  is  placed  upon  an  easel,  to  which 
the  archduke  is  pointing  and  seems  to  be  asking  Teniers  who  was  the  artist. 
In  still  a third,  an  old  peasant  is  posed  in  the  gallery  and  the  artist  has  de- 
picted himself  as  painting  his  portrait. 

The  Archduke  Leopold  William  was  superseded  by  Don  Juan  of  Austria, 
natural  son  of  Philip  iv.  of  Spain.  He  confirmed  Teniers  in  his  office,  and 
according  to  Corneille  di  Blie,  a contemporary  writer,  took  lessons  In  painting 
of  David,  and  to  show  his  gratitude  painted  a portrait  of  Teniers’s  son.  He 
also  sent  the  artist’s  pictures  to  Spain,  and  Philip  iv.  was  so  delighted  with 
them  that,  so  Di  Blie  tells  us,  he  had  a special  gallery  built  for  them,  and  ac- 
quired all  the  canvases  he  could  from  the  hand  of  our  painter.  Certainly, 
to-day,  the  Prado  is  richer  than  any  other  museum  in  the  works  of  Teniers. 
His  fame  spread  all  over  Europe.  Queen  Christina  of  Sweden  was  in  Antwerp 
after  her  abdication  in  1654,  and  Teniers  offered  her  all  the  plates  of  his 
Theatre  which  had  been  already  engraved.  When  she  passed  through  Brus- 
sels on  her  way  to  cross  the  Alps  she  presented  him  with  a chain  of  gold,  from 
which  was  suspended  her  portrait  in  medallion.  The  Elector  of  the  Palatinate 
sat  to  David  for  his  portrait,  also  Antoine  Triest,  Bishop  of  Ghent,  an  able 
connoisseur  and  patron  of  art,  and  the  latter’s  representative  acted  as  sponsor 
for  one  of  David’s  children. 

Among  others  who  frequented  his  studio  were  the  Duke  of  York  and  the 
Duke  of  Gloucester,  sons  of  Charles  i.  of  England.  Teniers  painted  the  por- 
trait of  the  former  in  1651,  when  he  was  eighteen  years  of  age.  He  is  repre- 
sented as  amiable  and  naive,  and  his  likeness  gives  no  indication  of  the  troubles 
that  were  to  come  to  him  as  King  James  ii.  Another  important  Individual 
who  posed  for  Teniers  was  Conde,  who  in  1652  entered  the  service  of  Spain. 
His  portrait  was  painted  a year  later,  wffien  he  was  thirty-one,  and  shows  us  a 
long  and  bony  figure  with  elaborately  curled  locks,  and  a rather  disagreeable 
countenance  suggesting  the  wolf  a little  in  its  characterization. 

Teniers  seems  to  have  made  himself  unhappy  the  latter  part  of  his  life 
through  his  ambitions  and  desires  to  be  ennobled,  to  become  of  equal  rank 
with  those  with  whom  he  associated.  He  first  in  1655  solicited  ennoblement, 
and  again  in  1663  made  application  to  the  privy  council  of  Philip  iv.,  and 
claimed  that  his  family  was  of  honorable  origin  from  Haynault,  and  had  al- 
ways carried  armorial  bearings.  The  Spanish  king  finally  granted  his  wish 
on  one  condition  — that  Teniers  should  not  exercise  his  profession  for  gain, 
as  his  new  rank  would  demand.  This  was  no  doubt  a disguised  refusal;  the 
price  asked  was  too  great  a sacrifice,  and  we  hear  no  more  about  the  matter. 

[27  8] 


TENIERS  THE  YOUNGER 


27 


But  upon  his  second  wife’s  tomb,  who  died  before  him  and  was  buried  in  the 
church  of  Perck,  was  sculptured,  together  with  her  family  arms,  the  chimer- 
ical coat-of-arms  which  he  claimed  for  his  family.  Moreover,  the  Abbe  de 
St.  Michel  d’Anvers,  Jean  Chrysostome  Teniers,  a nephew,  carried  this 
escutcheon  from  1687  to  1709. 

In  1663  Teniers  was  Director  and  Dean  of  the  Guild  of  St.  Luke  in  Ant- 
werp, and  wished  to  make  of  it  a royal  academy  similar  to  those  of  Rome  and 
Paris,  where  only  painters  and  sculptors  could  be  members,  and  not  crafts- 
men. Louis  XIV.  had  that  same  year  restored  the  French  Academy  of  Painting 
and  Sculpture,  had  given  it  a habitation,  definite  laws,  and  a means  of  revenue. 
Teniers  took  advantage  of  his  friendship  with  the  Marquis  de  Caracena,  suc- 
cessor to  Don  Juan  as  Governor  of  the  Netherlands,  and  asked  Philip  iv. 
to  take  the  new  academy  under  his  protection  and  grant  it  letters  of  franchise 
which  he,  Teniers,  could  resell.  This  last  demand  appealed  to  the  Spanish 
monarch,  and  to  meet  the  expenses  of  the  new  academy  he  empowered  the 
Dean  of  St.  Luke’s  Guild  and  his  colleagues  to  enfranchise  eight  persons  of 
the  ordinary  rank  of  bourgeois,  each  of  the  said  eight  to  be  held  responsible  at 
intervals  for  the  duties  of  public  almoner  and  police  officer.  The  magistrates 
of  Antwerp  gave  the  academy  the  free  use  of  rooms  on  the  east  side  of  the 
Bourse,  and  they  solemnly  took  possession  on  the  fete-day  of  St.  Luke.  The 
next  year  public  instruction  in  perspective,  and  in  drawing  from  the  living 
model,  began,  and  the  Fine  Arts  Academy  of  Antwerp  was  established. 

Michiels  has  pointed  out  that  Teniers’s  life  was  not  passed  in  tranquillity 
by  any  means.  Although  he  was  born  in  a time  of  peace,  during  the  greater 
part  of  his  life  Belgium  was  ravaged  and  pillaged  by  the  English,  the  French, 
and  the  Spanish.  Under  Don  Juan,  after  his  defeat  in  the  Battle  of  the  Dunes, 
the  French  troops  came  within  four  leagues  of  Brussels.  The  troopers  could 
not  live  except  by  highway  robbery,  and  traveling  from  place  to  place  was 
rendered  most  precarious.  Teniers  died  shonly  before  the  bombardment  of 
Brussels  by  Marechal  de  Villeroi. 

VVe  find  several  pictures  by  him  entitled  ‘The  Misfortunes  of  War.’  Some- 
times, instead  of  representing  his  scenes  in  a tragic  manner,  he  made  them 
ridiculous.  For  instance,  the  Brussels  Museum  possesses  one  of  a guard- 
room,  where  the  Spanish  soldiers  are  represented  as  monkeys,  seated  at  two 
tables,  playing  cards  and  dice,  and  drinking  and  smoking  with  all  the  airs  of 
soldiers  so  diverting  themselves.  A poor  cat,  representing  a Fleming,  who 
had  been  out  in  the  evening  enjoying  himself,  is  brought  in  half  dead  with 
fear  by  two  ourang-outangs,  to  be  roughly  judged  and  punished  by  the  officer 
of  the  guard,  dressed  as  a dog,  while  an  owl  upon  the  top  of  the  door  looks  on 
disdainfully. 

Anne  Brueghel,  Teniers’s  first  wife,  died  in  May  in  1656,  and  was  buried 
in  the  collegiate  Church  of  SS.  Michel  and  Gudule,  in  the  parish  of  Couden- 
berg;  she  had  borne  him  seven  children.  He  very  quickly  consoled  himself 
for  her  loss,  however,  for  six  months  later,  in  December  of  that  same  year,  he 
married  Isabella  de  Fren,  daughter  of  the  Secretary  of  the  Council  of  Bra- 
bant, who  was  the  mother  of  four  children.  Soon  after  his  second  marriage 
[279] 


28 


MASTERS  IN  ART 


the  children  of  his  first  wife  claimed  a part  of  his  fortune  and  property,  which 
gave  rise  to  interminable  law-suits.  Twenty-six  years  after  the  death  of  Anne 
Brueghel,  in  1682,  he  was  still  in  possession  of  the  manor;  but  upon  the  mar- 
riage of  the  eldest  daughter  of  Isabella  de  Fren  to  Jean-Fran^ois  Engrand, 
he  sold  the  property  in  litigation  to  his  son-in-law.  The  latter  was  finally 
obliged  to  resell  it,  but  it  is  thought  not  until  after  the  death  of  Teniers. 

Of  the  eleven  children  of  David,  four  were  sons  and  followed  their  father’s 
profession.  The  eldest,  known  as  David  Third,  was  a painter  of  some  repute. 
He  was  sent  to  Spain  to  complete  his  studies,  and  seems  to  have  won  the  favor 
of  Philip  IV.,  who  demanded  his  works  after  he  had  left  the  country.  He, 
also,  like  his  father,  had  many  patrons  among  the  nobility.  He  married,  in 
1671,  Anne  Bomarens,  at  Lermonde,  where  he  lived  for  a little  time,  and  then 
removed  to  Brussels.  His  eldest  child  was  named  David,  and  was  likewise  a 
painter.  It  is  thought  to-day  that  it  was  David  Third,  and  not  his  father, 
who  signed  his  pictures,  David  Teniers,  Junior.  His  pictures  have  probably 
become  confused  with  his  father’s  and  are  some  of  those  doubtful  ones  which 
critics  think  to  be  copies  or  pasticcios.  One  authentic  picture  painted  by 
him  of  St.  Dominic  kneeling  before  the  Virgin  is  still  in  its  original  position  in 
the  church  at  Perck,  and  is  signed  as  above.  He  died  five  years  before  his 
father,  and  expressed  a wish  to  be  buried  beside  his  mother  in  the  collegiate 
church  at  Coudenberg. 

A second  son  joined  the  order  of  St.  Francis  at  Malines  and  painted  nine- 
teen pictures  of  the  martyrs  of  Gorcum,  but  of  much  greater  merit  than  the 
pictures  were  the  frames,  representing  garlands  of  flowers  which  his  father 
had  painted  for  another  artist. 

Both  Waagen  and  Smith  consider  that  our  artist’s  best  works  were  pro- 
duced between  1645  and  1650,  when  he  had  substituted  for  his  first  golden 
tone  a beautiful  silver  one.  Later  he  adopted  the  golden  tone  again,  but  the 
shadows  in  his  very  latest  pictures  are  apt  to  be  brown  and  opaque.  After 
1654  his  works  seem  to  be  less  carefully  painted  and  to  lack  earnestness.  He 
took  to  painting  what  are  known  as  his  ‘afternoons.’  This  name  refers  only 
to  the  time  taken  in  which  to  paint  them,  and  generally  represented  a few 
figures  painted  in  a broad  landscape,  but  they  at  least  demonstrate  the  facile 
technique  of  his  brush. 

Smith,  in  his  ‘Catalogue  Raisonne’  has  described  nearly  seven  hundred 
pictures  by  Teniers,  scattered  throughout  the  public  and  private  galleries  of 
Europe,  but  he  had  many  imitators  who  did  not  hesitate  to  forge  his  name. 
Their  works  can  be  distinguished  from  his  only  by  a lack  of  fine  quality,  espe- 
cially in  their  tones  and  in  their  technique. 

Not  only  did  David  make  engravings  of  the  Italian  pictures  in  the  arch- 
duke’s collection,  but  he  engraved  some  original  plates,  which  are  considered 
on  the  whole  rather  mediocre  and  not  equal  to  the  work  of  his  contemporaries 
in  that  line.  Like  his  father,  he  also  made  designs  for  tapestries,  and  the  prod- 
uct of  the  looms  in  Brussels  came  into  much  greater  vogue  and  popularity 
after  he  began  to  furnish  the  cartoons  for  them.  Teniers  was  not  slow  to  aid 
his  fellow  painters.  He  often  added  figures  to  their  landscapes,  thereby 
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TENIERS  THE  YOUNGER 


29 


greatly  enhancing  their  price.  He  even  went  so  far  at  times  as  to  retouch 
their  entire  pictures.  Josse  de  Momper  was  especially  under  obligations  of 
this  sort,  and  one  finds  in  the  catalogue  of  the  eflFects  of  Duke  Charles  of 
Lorraine  mention  of  “a  couple  of  landscapes  and  figures  by  Teniers  in  the 
manner  of  Mompers.” 

One  of  his  last  canvases  w’as  of  his  lawyer  surrounded  by  his  papers, 
whom  he  had  employed,  doubtless,  in  the  law-suit  with  his  children.  The 
anecdote  is  told,  that  while  the  lawyer  was  posing  for  him  Teniers  said  to 
him,  “Up  to  the  present,  I have  employed  ivory  white,  but  to  paint  you  I have 
burned  my  last  tooth.”  M.  Wauters  has  placed  his  death  in  1694,  but  it  has 
been  proved  by  some  recently  discovered  documents  that  he  died  four  years 
earlier,  on  April  25,  1690,  and  was  buried  beside  his  second  wife  in  the 
church  of  Perck.  “Properly  speaking,  he  is  the  last  representative  of  the 
great  Flemish  traditions  of  the  seventeenth  century.” 


Cj)t  art  of  Centtrs  tije  ^oungtr 

F.  T.  KUGLER  ‘HANDBOOK  OF  PAINTING’ 

Teniers  was  one  of  the  first,  and  also  one  of  the  most  remarkable,  of 
those  painters  who,  possessing  the  complete  command  of  all  the  powers 
of  representation  which  then  flourished  in  the  Netherlands,  applied  them  to 
illustrate  the  subjects  of  every-day  life,  or  even,  when  tempted  into  higher 
regions,  included  them  under  the  same  genre-like  treatment;  for  though  the 
animated  delineation  of  the  peasant  world,  under  the  most  varying  forms  — 
from  the  single  figure  of  a peasant  smoking  his  pipe  to  the  throngs  which 
gather  at  fairs  and  festivities  — was  his  favorite  sphere,  yet  the  influence  of 
his  uncle,  Hell  Brueghel,  or  of  his  father-in-law,  Velvet  Brueghel,  appeared 
in  many  a scene  from  the  realms  of  fancy,  such  as  witches  and  incantations, 
and  especially  in  the  ‘Temptation  of  St.  Anthony,’  which  he  treated  with 
charming  humor.  The  mania  also  for  discovering  the  philosopher’s  stone, 
which  prevailed  at  his  time,  gave  him  occasion  for  those  alchemist  subjects 
in  which  he  is  unrivaled.  The  guard-house,  with  its  old  armor,  drums,  and 
flags,  was  another  favorite  sphere;  also  cattle-pieces  and  landscapes,  wherein 
his  delicate  feeling  for  nature  is  strikingly  evident.  His  talent  was  least 
adapted  for  sacred  subjects,  which,  being  invested  by  him  with  the  same 
forms  as  those  he  gave  his  peasant  world,  are  wanting  in  all  elevation  of  feel- 
ing. These  pictures  therefore  have  little  interest  for  the  mind  of  the  spectator, 
except  occasionally  of  a humorous  kind.  . . . 

The  qualities  which  most  attract  us  in  the  works  of  Teniers  are  his  pic- 
turesque arrangement,  his  delicately  balanced  general  keeping,  the  exquisite 
harmony  of  coloring  in  his  details,  and  that  light  and  sparkling  touch  in  which 
the  separate  strokes  of  the  brush  are  left  unbroken  — a power  wherein  no 
other  genre-painter  ever  equaled  him.  On  the  other  hand,  all  the  charm  of 
1281] 


30 


MASTERS  IN  ART 


his  humor  can  hardly  atone  for  a certain  coldness  of  feeling,  while  his  figures 
and  heads  have  a degree  of  monotony  which  is  especially  obvious  in  scenes 
with  numerous  figures.  Occasionally,  also,  too  decided  an  intention  is  seen 
in  his  arrangements;  so  that  upon  the  whole  his  greatest  triumphs  are  attained 
in  pictures  of  few  figures.  The  different  periods  of  his  long  life  distinctly  ap- 
pear in  his  works.  In  those  of  his  earlier  time  a somewhat  heavy  brown  tone 
prevails;  the  figures  are  on  a large  scale  — twelve  to  eighteen  inches  high;  the 
treatment  is  broad,  and  somewhat  decorative.  The  influence  of  Brouwer  may 
be  perceived  here,  though  the  idea  that  Teniers  was  a scholar  of  his  is  quite 
erroneous.  Towards  1640  his  coloring  becomes  clearer,  continuing  in  this 
tendency  up  to  1644,  when  he  had  attained  a very  luminous  golden  tone,  and 
changing  again  from  that  period  into  a cool  silvery  hue.  With  this  there  also 
ensued  a more  careful  and  very  precise  execution.  Pictures  of  this  class  up  to 
the  year  1660,  though  occasionally  we  find  him  returning  to  his  golden  color, 
are  prized  as  his  finest  and  most  characteristic  works.  After  this  he  again 
adopts  a decided  golden  tone,  which  is  sometimes  very  powerful.  In  his  last 
years  the  coloring  becomes  heavy  and  brownish,  and  the  treatment  is  unde- 
cided and  trembling. 

HENRI  HYMANS  ‘ENCYCLOPEDIA  BRITANNICA’ 

ALTHOUGH  the  spirit  of  many  of  these  works  is  as  a whole  marvelous, 
their  conscientiousness  must  be  regarded  as  questionable.  Especially 
in  the  latter  productions  we  often  detect  a lack  of  earnestness  and  of  the  calm 
and  concentrated  study  of  nature  which  alone  prevent  expression  from  de- 
generating into  grimace  in  situations  like  those  generally  depicted  by  Teniers. 
His  education,  and  still  more  his  real  and  assumed  position  in  society,  to  a 
great  degree  account  for  this.  Brouwer  knew  more  of  taverns;  Ostade  was 
more  thoroughly  at  home  in  cottages  and  humble  dwellings;  Teniers  through- 
out triumphs  in  broad  daylight,  and,  though  many  of  his  interiors  may  justly 
be  termed  masterpieces,  they  seldom  equal  his  open-air  scenes,  where  he  has 
without  restraint  given  full  play  to  the  bright  resources  of  his  luminous 
palette.  In  this  respect,  as  in  many  others,  he  almost  invariably  suggests 
comparisons  with  Watteau.  Equally  sparkling  and  equally  joyous,  both  seem 
to  live  in  an  almost  ideal  world,  where  toil,  disease,  and  poverty  may  exist, 
but  to  be  soon  forgotten,  and  where  sunshine  seems  everlasting.  But  his  sub- 
jects taken  from  the  Gospels  or  sacred  legend  are  absurd.  An  admirable  pic- 
ture in  the  Louvre  show’s  Peter  denying  his  Master,  next  to  a table  where 
soldiers  are  smoking  and  having  a game  at  cards.  He  likes  going  back  to 
subjects  illustrated  two  centuries  before  by  Jerome  Bosch  — the  ‘Temptation 
of  St.  Anthony,’  the  ‘Rich  Man  in  Hell,’  incantations  and  witches  — for  the 
simple  purpose  of  assembling  the  most  common  apparitions.  His  villagers 
drink,  play  bowls,  dance,  and  sing;  they  seldom  quarrel  or  fight,  and  if  they 
do.  seem  to  be  shamming.  His  powers  certainly  declined  with  advancing  age; 
the  works  of  1654  begin  to  look  hasty.  But  this  much  may  be  said  of  Teniers, 
that  no  other  painter  shows  a more  enviable  ability  to  render  a conception  to 
[282] 


TENIERS  THE  YOUNGER 


3 


his  own  and  other  people’s  satisfaction.  His  works  have  a technical  freshness, 
a straightforwardness  in  means  and  intent,  which  make  the  study  of  them 
most  delightful;  as  Sir  Joshua  Reynolds  says,  they  are  worthy  of  the  closest 
attention  of  any  painter  who  desires  to  excel  in  the  mechanical  knowledge  of 
his  art. 

A.  T.  WAUTERS  ‘LAPEINTUREFLAMANDE’ 

HIS  work  is  a world  in  itself.  As  the  elder  Brueghel  of  old,  but  with  more 
elegance  and  delicacy,  Teniers  recounts  to  us  the  life  of  the  Flemish 
peasants,  its  domestic  intimacy  and  its  substantial,  familiar  joys.  His  people 
go  to  market,  they  clean  stables,  milk  cows,  draw  nets,  grind  knives,  shoot 
arrows,  play  at  skittles  and  at  cards,  dress  wounds,  pull  teeth,  salt  bacon, 
make  puddings,  smoke,  sing,  dance,  caress  the  young  girls,  and  above  all 
drink  like  the  Flemings  that  they  are.  How  far  the  cowherds  and  the  fish- 
mongers transport  us  from  the  gods  of  Olympus  and  the  people  of  the  Bible! 
And  yet,  who  would  believe  it  ? Teniers  has  ventured  upon  the  ground  of  the 
religious  painting:  witness,  the  ‘Christ  presented  to  the  People’  (Museum  of 
Cassel),  the  ‘ Crowning  of  Thorns  ’ (cabinet  of  Lord  Ward),  and  the  ‘ Sacrifice 
of  Abraham’  (Museum  of  Vienna).  He  has  likewise  rashly  attempted 
heroic  painting;  for  proof,  the  twelve  pictures  relating  the  ‘ History  of  Armide 
and  of  Renaud’  (Prado).  We  do  not  think  that  he  has  succeeded  there.  Of 
the  rest,  he  has  tried  his  hand  in  all  manner  of  genre:  popular  fetes,  fan- 
tastic representations,  markets,  landscapes  with  flocks,  hunts,  the  life  of  the 
nobility,  incidents  of  the  guard-room,  comic  scenes  of  monkeys  and  cats, 
rustic  interiors,  kitchens,  shops,  laboratories,  — he  has  painted  everything, 
and  always  with  that  lightness  of  execution,  that  fine  and  quick  touch,  whose 
spirit  has  not  been  surpassed  by  any  one.  . . . 

It  is  above  all  in  his  spirit,  his  color,  and  his  execution  that  Teniers  asks  to 
be  studied  and  admired.  His  rapid  and  facile  talent  derived  at  the  same  time 
from  Brueghel  and  from  Rubens:  in  the  first  place,  by  the  manner  of  what  he 
sees;  in  the  second  place,  by  his  coloring,  with  its  bold  tones,  with  its  refined 
harmonies,  and  by  the  astonishing  virtuosity  of  his  brush,  he  lays  hold  of 
and  renders  the  humble  spectacle  of  things  naive  and  rustic.  Take  him  in 
some  of  his  small,  choice  productions  — for  example,  in  ‘The  Country  Doc- 
tor’ (Brussels),  ‘The  Prodigal  Son’  (Louvre),  ‘The  Kitchen’  (The  Hague), 
‘The  Rustic  Interior’  (Basle),  ‘The  Violinist’  (Turin)  — his  manner  of 
painting  is  there  inimitable.  No  one  better  than  he  has  known  how  to  give 
to  color  fine  and  delicate  transparencies;  no  one  has  combined  with  more  art 
and  apparent  simplicity  the  play  of  softened  shadows  and  of  luminous  im- 
pastos.  We  do  not  ask  of  his  representations  of  the  humble  classes  of  the 
society  of  his  time  the  mocking  accent  of  the  elder  Brueghel  nor  the  carica- 
tured gaiety  of  Adrien  Brouwer,  both  more  profound  and  more  powerful  than 
he,  but  we  recognize  that  the  song  of  his  homely  muse  accompanies  well  his 
little  scenes  of  domestic  interiors,  and  of  sweet  village  joys. — from  the 
FRENCH 


[283] 


32 


MASTERS  IN  ART 


JOHNRUSKIN'  ‘MODERNPAINTERS* 

WE  have  to  stoop  somewhat  lower  in  order  to  comprehend  the  pastoral 
and  rustic  scenery  of  Cuyp  and  Teniers,  which  must  yet  be  held  as 
forming  one  group  with  the  historical  art  of  Rubens,  being  connected  with  it 
by  Rubens’s  pastoral  landscape.  To  these,  I say,  we  must  stoop  lower;  for 
they  are  destitute,  not  of  spiritual  character  only,  but  of  spiritual  thought.  . . . 

But  in  the  pastoral  landscape  we  lose,  not  only  all  faith  in  religion,  but  all 
remembrance  of  it.  Absolutely  now  at  last  we  find  ourselves  without  sight  of 
God  in  all  the  world. 

So  far  as  I can  hear  or  read,  this  is  an  entirely  new  and  wonderful  state  of 
things  achieved  by  the  Hollanders.  The  human  being  never  got  wholly  quit 
of  the  terror  of  spiritual  being  before.  Persian,  Egyptian,  Assyrian,  Hindoo, 
Chinese, — all  kept  some  dim,  appalling  record  of  what  they  called  “gods.” 
Farthest  savages  had  — and  still  have  — their  feather-idols,  large-eyed;  but 
here  in  Holland  we  have  at  last  got  utterly  done  with  it  all.  Our  only  idol 
glitters  dimly,  in  tangible  shape  of  a pint  pot,  and  all  the  incense  offered  thereto 
comes  out  of  a small  censer  or  bowl  at  the  end  of  a pipe.  “ Of  deities  or  virtues, 
angels,  principalities,  or  powers,  in  the  name  of  our  ditches  no  more.  Let  us 
have  cattle,  and  market  vegetables.” 

This  is  the  first  and  essential  character  of  the  Holland  landscape  art.  Its 
second  is  a worthier  one, — respect  for  rural  life. 

I should  attach  greater  importance  to  this  rural  feeling  if  there  were  any 
true  humanity  in  it,  or  any  feeling  for  beauty.  But  there  is  neither.  No  inci- 
dents of  this  lower  life  are  painted  for  the  sake  of  the  incidents,  but  only  for 
the  effects  of  light.  You  will  find  that  the  best  Dutch  painters  do  not  care 
about  the  people,  but  the  lusters  on  them.  . . . But  no  effect  of  fancy  will  enable 
me  to  lay  hold  of  the  temper  of  Teniers  or  Wouvermans,  any  more  than  I can 
enter  into  the  feelings  of  the  lower  animals.  I cannot  set  why  they  painted  — 
what  they  are  aiming  at  — what  they  liked  or  disliked.  All  their  life  and 
work  is  the  same  sort  of  mystery  to  me  as  the  mind  of  my  dog  when  he  rolls 
on  carrion.  He  is  a well-enough  conducted  dog  in  other  respects,  and  many 
of  these  Dutchmen  were  doubtless  very  well-conducted  persons:  certainly 
they  learned  their  business  well;  both  Teniers  and  Wouvermans  touch  with  a 
workmanly  hand,  such  as  we  cannot  see  rivaled  now;  and  they  seem  never  to 
have  painted  indolently,  but  gave  the  purchaser  his  thorough  money’s  worth 
of  mechanism,  while  the  burgesses  who  bargained  for  their  cattle  and  card- 
parties  were  probably  more  respectable  men  than  the  princes  who  gave  orders 
to  Titian  for  nymphs,  and  to  Raphael  for  Nativities.  But  whatever  merit  or 
commercial  value  may  be  in  Dutch  labor,  this  at  least  is  clear,  that  it  is  wholly 
insensitive. 

The  very  mastery  those  very  men  have  of  their  business  proceeds  from 
their  never  really  seeing  the  whole  of  anything,  but  only  that  part  of  it  which 

'John  Ruskin,  eminent  critic  in  many  respects,  does  not  seem  to  understand  or  appreciate  the  Dutch 
and  Flemish  Schools.  He  is  more  to  be  trusted  when  he  praises,  though  he  exaggerate,  than  when  he 
blames.  I include  this  excerpt  by  way  of  contrast,  as  most  critics  give  to  Teniers  so  much  praise,  if  not 
adulation. 


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TENIERS  THE  YOUNGER 


33 


they  know  how  to  do.  Out  of  all  nature  they  felt  their  function  was  to  ex- 
tract the  grayness  and  shininess.  Give  them  a golden  sunset,  a rosy  dawn,  a 
green  waterfall,  a scarlet  autumn  on  the  hills,  and  they  merely  look  curiously 
into  it,  to  see  if  there  is  anything  gray  and  glittering  which  can  be  painted  on 
their  common  principles.  ...  I do  not  think  it  necessary  to  trace  farther  the 
evidences  of  insensitive  conception  of  the  Dutch  school.  I have  associated  the 
name  of  Teniers  with  that  of  Wouvermans  in  the  beginning  of  this  chapter, 
because  Teniers  is  essentially  the  painter  of  the  pleasures  of  the  ale-house  and 
card-table,  as  Wouvermans  of  those  of  the  chase;  and  the  two  are  the  leading 
masters  of  the  peculiar  Dutch  trick  of  white  touch  on  gray  or  brown  ground; 
but  Teniers  is  higher  in  reach  and  more  honest  in  manner.  Berghem  is  the 
real  associate  of  Wouvermans  in  the  hybrid  school  of  landscape.  But  all  three 
are  alike  insensitive;  that  is  to  say,  unspiritual  or  deathful,  and  that  to  the 
uttermost  in  every  thought, — providing,  therefore,  the  lowest  phase  of  pos- 
sible art  of  a skilful  kind. 

ALFRED  MICHIELS  ‘HISTOIRE  DE  LA  PEINTURE  FLAMANDE’ 

ONCE  established  in  his  country  residence,  everything  became  for  Teniers 
subject  for  a picture.  He  did  not  give  himself  the  trouble  to  choose  be- 
tween the  thousand  incidents  of  nature  and  of  rustic  life.  The  first  occupa- 
tions of  the  year  as  the  last  — labor,  seed-time,  cutting  of  the  hay,  harvest,  work 
of  the  thrashers  and  the  winnowers,  hunts  of  the  autumn,  eflFects  of  snow, 
somber  landscapes,  which  a rough  and  impetuous  north  wind  torments  — have 
been  faithfully  reproduced  by  him.  Of  a spirit  simple  and  just,  he  painted 
the  men,  the  trees,  the  fields,  the  sky,  the  clouds,  the  ground,  the  costumes, 
the  manners,  the  inside  and  outside  of  houses,  as  they  offered  themselves  to 
his  view  — no  preconceived  idea,  no  effort  to  attain  the  ideal,  to  ennoble  his 
models.  He  did  not  even  try  to  compose.  A village  street,  a free  space  be- 
tween some  cottages,  where  the  grass  shoots  up  as  in  the  broad  country,  the 
borders  of  a pool,  the  edge  of  a wood,  the  enclosed  paling  of  a public-house,  a 
common  road  without  original  incidents,  the  first  room  of  a tavern  that  he 
happened  upon, — all  was  good  material  for  him.  Provided  his  canvas  found 
itself  filled  fairly  suitably,  he  asked  nothing  more  of  it.  It  has  been  remarked 
that  his  trees  are  ordinary;  that  is  to  say,  they  have  not  the  beautiful  bearing, 
the  distinguished  forms,  they  do  not  offer  happy  anomalies,  sought  with 
anxiety  by  the  landscapists  who  beat  about  the  forests  to  find  these  exceptions. 
Teniers  occupied  himself  little  with  such  refinements.  If  he  saw  a group  of 
sycamores,  or  ash-trees,  or  lindens,  he  copied  it  without  modifying  it.  But 
his  trees  have  a natural  air,  their  foliage  is  well  rendered,  light,  easy;  as  though 
we  could  hear  them  whispering  in  the  breeze. 

Teniers  did  not  put  more  coquetry  into  his  manner  of  painting  the  heavens, 
though  others  note  the  rare  splendors  of  the  firmament,  the  unusual  play  of 
light,  the  strange  forms  which  the  clouds  occasionally  take.  ...  An  ordinary 
sky,  with  clouds,  whitish,  flaky,  like  wool,  and  sweetly  bathed  in  silvery  gleams 
of  light,  suffices  him  ordinarily.  When  he  puts  into  them  more  workmanship, 
[285] 


34 


MASTERS  IN  ART 


through  caprice  and  at  long  intervals,  his  admirers  are  astonished.  But  the 
eye  loses  itself  in  spaces  •which  he  opens  above  the  cottages  and  orchards;  one 
imagines  that  one  sees  far  beyond  the  objects  which  really  limit  the  view. 
And  elsewhere  how  the  pigeons  balance  themselves  on  high!  How  they  ap- 
pear to  strike  with  their  agile  wings  a real  atmosphere! 

The  people  of  Teniers  are  as  real  as  the  scenes  where  he  places  them.  Many 
art-lovers,  many  critics,  are  astonished  to  see  them  so  short  and  so  stocky. 
They  ask  why  the  artist  has  given  them  these  heavy  proportions,  what  human 
race  has  furnished  him  with  such  types.  You  see  that  he  has  not  been  very 
far  to  find  them,  for  he  holds  to  the  soil  of  his  fatherland,  as  old  oaks  to  the 
Forest  of  Soigne.  Three  years  of  consecutive  sojourn  in  Brabant  have  per- 
mitted me  to  find  his  models.  The  good  men  of  Teniers  are  in  fact  the  Bra- 
bant peasants;  he  paints  quite  simply  the  villagers  who  people  the  country 
around  his  chateau.  They  have  remained  the  same  since  his  time;  they  have 
always  the  thick-set  shoulders,  strong  limbs,  great  heads,  large  eyes,  clear 
complexions,  and  sufficiently  regular  features.  They  are  mild,  joyous,  good 
companions  — they  dance,  drink,  smoke,  as  of  old.  Only  they  wear  clothes 
of  glossy  cloth,  hats  and  neckties.  The  public-houses  have  no  longer  palings, 
but  tbe  green  hedges  do  not  let  us  regret  the  old  fences.  Often  even  they 
dance,  drink,  play,  in  the  open  country.  . . . 

In  some  works  of  Teniers  the  figures  are  more  svelte,  more  elegantly  pro- 
portioned; I do  not  at  all  hesitate  to  say  that  they  date  from  the  time  when  he 
lived  in  Antwerp.  The  Antwerp  race  is,  in  fact,  larger,  more  slender,  than  the 
population  of  Brabant,  properly  so-called.  You  see  walking  in  the  streets, 
promenading  on  the  quay,  some  beautiful  young  girls,  who  surpass  the  com- 
mon level  of  their  sex,  and  display  a full  bust  above  a figure  supple  and  slender. 
When  they  were  before  bis  eyes,  Teniers,  the  faithful  observer,  copied  them 
exactly.  Once  far  from  the  borders  of  the  Escaut,  he  forgot  these  beautiful 
models,  and  set  himself  to  reproduce  the  little  Braban^onnes,  with  their  large 
heads  and  their  red  cheeks. 

The  manners  depicted  by  the  brush  of  Teniers,  the  actions  of  his  people, 
deserve  the  same  eulogies,  have  the  same  reality,  as  the  backgrounds  of  his 
pictures.  It  was  not  for  him  to  dream  of  the  swains  of  the  opera-comique  and 
of  the  shepherdesses  dressed  in  satin,  as  did  Sergais,  Madame  Deshoulieres, 
Fontenelles,  Boucher,  Watteau,  Florian;  he  did  not  represent  village  coquettes 
with  dainty  feet,  with  hair  curled,  casting  murderous  glances,  heaving  sighs, 
and  leading  with  a red  ribbon  sheep  as  white  as  snow  over  the  short  grass. 
His  country  women  are  great  rustics,  cowherds,  laborers,  harvesters,  swine- 
herds, milkers,  venders  of  cheese  and  of  fish,  tavern-keepers,  fisher-women, 
and  farmers’  wives.  Their  attitudes,  their  gestures,  are  in  harmony  with  their 
coarse  natures;  the  truth  of  their  movements  strikes  all  spectators. 

Teniers  is  perhaps  the  most  perfect  representative  of  the  realistic  school,  an 
imitator  of  the  Flemings;  his  tranquil  spirit  had  the  impartiality  of  a mirror, 
and  his  pictures  are,  in  their  turn,  the  reflection  of  his  spirit.  Objects  so 
strongly  took  possession  of  his  Intelligence  that  his  talent  offers  nothing  sub- 
jective; he  had  nothing  peculiar  to  himself  but  his  manner  of  painting;  and 
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TENIERS  THE  YOUNGER 


35 


had  not  Rubens  taught  him  this  way  of  painting  ? . . . adapted  from 

THE  FRENCH. 

PAILLOT  DE  MONTABERT  ‘TRAITE  COMPLEX  DE  PEINTURE’ 

The  great  secret  of  Teniers  is  his  great  knowledge  and  his  great  feeling 
for  perspective.  He  understood  it  from  the  very  beginning,  applying  it  not 
only  to  lines,  but  to  tones,  to  tints,  and  to  touch.  Besides  this  knowledge,  the 
most  powerful  in  all  painting,  Teniers  learned  the  art  of  combining  light  and 
shade,  and,  much  more  still,  in  my  opinion,  the  art  of  combining  tones,  in 
allresf>ects  choosing  what  was  pleasing  to  the  sight  — to  such  an  extent  that  he 
places  for  his  own  pleasure  a man  dressed  in  white  upon  a white  sky;  to  such 
an  extent  that  he  places  gray  upon  gray,  red  upon  red;  nothing  embarrasses 
him  and  he  amuses  himself,  so  to  speak,  in  diversifying  the  combinations, 
because  he  holds  in  hand  the  first  great  principle;  because  he  is  certain  to 
avoid  the  effect  of  small  masses,  interrupted  and  discordant;  because,  having 
great  knowledge  of  optics,  he  knows  how  to  avoid  misconceptions,  equivoca- 
tions, all  that  which  can  finally  embarrass  and  enfeeble  the  results. — from 
THE  FRENCH 


Cfje  i^orks  of  'Centtrs  tj)t  ^oungtr 

DESCRIPTIONS  OF  THE  PLATES 


‘THE  SMOKER’  PLATE  I 

This  is  another  of  the  early  pictures  by  Teniers  which  has  found  its  way 
to  the  Louvre,  and  is  remarkable  for  its  beautiful  golden  tone.  We  recall 
that  it  was  partly  due  to  this  picture  that  he  was  elected  Dean  of  the  Guild  of 
St.  Luke.  The  composition  is  described  as  follows  by  Lafenestre: 

“ In  the  hall  of  an  inn,  to  the  left,  a young  man,  with  bare  head  and  dressed 
in  a gray  costume,  is  seated  upon  a stool,  three-quarters  turned  to  the  left,  and 
smokes  his  pipe;  his  left  hand  rests  upon  his  knee;  his  right  elbow  is  leaning 
upon  a table,  where  are  placed  a pot  of  beer,  some  paper,  some  matches,  and 
a chafing-dish;  to  the  right,  in  the  middle  distance,  two  men  seated  before  a 
table  are  playing  cards,  and  a third,  standing,  looks  at  them.  In  the  back- 
ground a servant  enters  an  open  door;  upon  the  wall  is  hung  an  engraving 
carrying  the  date  of  1643.” 

It  measures  about  a foot  square  and  is  signed:  D.  Teniers. 

‘TENIERS’S  CHATEAU  AT  PERCK  PLATE  II 

IN  this  picture  we  get  a near  view  of  the  chateau  which  figures  so  often  in 
the  backgrounds  of  Teniers’s  pictures  of  out-of-door  life.  Here  we  have  a 
charmingly  composed  landscape  with  the  manor-house  surrounded  by  trees 
occupying  the  center  of  the  picture. 

[287]  ^ 


36 


masters  in  art 


Around  the  immediate  gardens  flows  a stream,  beyond  which,  on  the  right, 
we  see  the  pleasant  meadows  of  the  estate.  As  is  usual  with  our  artist,  he 
has  here  introduced  figures  into  his  landscape  to  give  it  life  and  vivacity.  In 
the  foreground  are  a group  of  men  standing  in  the  stream  drawing  a fish-net, 
whilst  on  the  left  one  of  their  number  has  climbed  up  the  hithermost  bank 
and  is  offering  a large  fish  to  a group  of  elegantly  dressed  people,  without 
doubt  portraits  of  the  artist,  his  wife,  daughter,  and  younger  son,  a lad  in  his 
teens  and  who  is  accompanied  by  a finely  bred  greyhound.  A secondary  figure 
of  a fisherman  in  the  distance  seems  to  be  carrying  a string  of  fish  up  the  foot- 
path to  the  chateau. 

This  is  the  most  considerable  of  his  pictures  in  the  National  Gallery  and 
has  been  called  “a  large  study  freely  painted.” 

‘TEMPTATION  OF  ST.  ANTHONY’  PLATE  II 

The  ‘Temptation  of  St.  Anthony’  was  a favorite  subject  with  Teniers. 

The  version  in  the  Berlin  Gallery  is  considered  the  most  masterly  in 
treatment.  The  scene  takes  place  in  a deep  cave,  through  the  door  of  which 
we  get  a glimpse  of  a smiling  and  beautiful  country.  Two  peasants  on  the 
left  are  looking  on  and  leering  at  the  tribulations  of  St.  Anthony,  so  well  de- 
scribed by  Kugler:  ‘‘The  poor  saint  kneels  full  of  anxiety  before  his  stone 
altar,  the  corners  of  which  are  just  shooting  out  into  heads  of  monstrous 
beasts;  beside  him  stands  a demon  in  the  shape  of  a Brabant  beauty,  holding 
a goblet  of  wine;  all  kinds  of  imps,  some  in  the  shape  of  goats,  others  like  apes 
or  fishes,  are  twitching  at  his  garments;  others  again  form  a circle  round  the 
picture  and  appear  to  make  the  most  horrible  uproar  by  singing,  screaming, 
or  croaking;  one  blows  a clarionet  which  he  has  stuck  into  the  hole  for  a nose 
in  his  skull.  In  the  air  above,  all  is  wild  tumult;  there  are  two  knights  who 
ride  on  fishes,  and  tilt  at  one  another;  one  is  a bird  cased  in  an  earthern  mug 
for  a coat  of  armor,  and  with  a candlestick  with  a burning  light  in  it  stuck  on 
his  head  by  way  of  helmet;  he  pierces  the  other  combatant  with  a long  hop- 
pole  through  the  neck,  and  this  knight,  who  resembles  a dried-up  frog,  seems 
to  set  up  a fearful  scream  while  he  tosses  his  arms  aloft.  All  kinds  of  reptiles 
are  flying  and  creeping  about.  It  would  be  difficult  to  match  the  mad  conceits 
and  wild  genius  of  this  picture.” 

The  beautiful  woman  so  charmingly  painted  in  a black  silk  dress  is  said  to 
be  a portrait  of  the  painter’s  first  wife,  Anne  Brueghel.  The  picture  measures 
two  feet  eight  inches  in  height  by  three  feet  ten  inches  in  breadth,  is  signed  and 
dated,  1647. 

‘THT  PRODIGAL  SON’  PLATE  IV 

PRODIGAL  SON’  is  one  of  the  earliest  as  well  as  one  of  the  finest 
A works  from  the  brush  of  Teniers.  As  Kugler  says  of  it,  “In  composi- 
tion, refinement  of  harmonious  gold  tones,  and  spirited  touch,  this  is  a work 
of  the  first  class.” 


[288] 


TENIERS  THE  YOUNGER 


37 


We  see  seated  at  a well-spread  table  before  the  door  of  an  inn,  the  prodigal 
son  between  two  women.  He  turns  towards  a small  boy  who  is  pouring  him 
something  to  drink,  while  he  presses  the  hand  of  one  of  the  women,  who  is 
seated  facing  us,  dressed  in  a blue  dress  and  white  cape;  the  other  womqn, 
in  a red  skirt  and  a black  overdress,  is  talking  to  a beggar.  Behind  them, 
leaning  against  the  paling,  are  two  musicians,  while  a waiter  is  bringing  them 
food,  and  a woman  servant  is  writing  the  expense  upon  a tablet.  In  the  fore- 
ground on  the  left,  resting  upon  a bench,  are  the  sword,  cloak,  and  plumed 
hat  of  the  Prodigal  Son,  while  on  the  right  a jug  of  faience  and  some  glasses 
stand  beside  some  flasks  which  are  cooling  in  a bronze  basin.  In  the  back- 
ground is  a stream,  and  upon  the  opposite  hank  is  the  Prodigal  Son  on  his 
knees  before  a cattle-shed. 

This  picture  brought  29,000  francs  in  1776,  and  again  in  1783  was  acquired 
by  the  French  crown  for  25,000  francs,  and  is  now  in  the  Louvre.  It  seems  to 
have  been  part  of  a set,  for  in  the  Dulwich  Gallery  is  the  Prodigal  Son  as  swine- 
herd, and  in  the  collection  Schneider,  the  Prodigal  Son  at  table  in  an  interior. 
It  measures  about  two  feet  two  inches  by  two  feet  ten  inches,  is  signed  and 
dated  upon  the  stone  in  the  corner,  1644. 

‘PROCESSION  OF  THE  ARQUEBUSIERS  GUILD  AT  ANTWERP’  PLATE  V 

IN  1643  painter  of  Kermesses  executed  a picture  which  we  rank  among 
his  best  w’orks.  It  represents  the  Hotel  de  Ville  at  Antwerp,  and  the 
grand  place,  where  the  crafts  and  corporations  defile,  in  their  costumes  of 
ceremony,  in  the  midst  of  a curious  crowd;  the  heads  of  all  the  members  of 
the  guild  were, according  to  tradition,  portraits.  We  distinguish  especially  the 
Confraternity  of  the  Crossbowmen,  for  whom  this  canvas  was  painted.  Forty- 
five  people,  in  figures  of  from  eight  to  ten  inches  high,  are  united  in  the  fore- 
ground; all  are  finished  with  the  minutest  care  and  in  a style  which,  without 
removing  itself  from  the  natural,  is  removed  less  from  the  grotesque.  The 
arrangement  of  the  prospective  is  marvelous,  as  the  rendering  of  all  the  details. 
The  air  circulates  among  the  animated  groups,  where  we  think  we  catch  the 
movement  of  life.”  (From  Viardot,  les  Musees  d’Allemagne  et  de  Prussie.) 

The  above  picture,  considered  by  many  critics  the  master’s  chef-J’ceuvre,  is, 
says  Hymans,  “correct  to  the  minutest  detail,  yet  striking  in  effect;  the  scene, 
under  the  rays  of  a glorious  sunshine,  displays  an  astonishing  amount  of  ac- 
quired knowledge  and  natural  good  taste.” 

It  was  painted  for  the  Confraternity  of  St.  Sebastian  of  Antwerp,  who  sold 
it  in  1750,  together  with  a ‘Venus  and  Mars’  by  Rubens,  for  5,000  florins,  on 
condition  that  the  latter  be  replaced  by  a copy  by  the  buyer.  The  former  also 
has  been  so  replaced.  Smith  tells  us  that  “ D.  Teniers  represented  himself  in 
the  figure  of  the  halberdier  who,  holding  a hat  ornamented  with  plumes, 
salutes  an  old  man  who  is  none  other  than  the  father  of  the  painter;  the  servant, 
who  is  behind  the  old  man  and  who  carries  a silver  tray,  is  one  of  the  De  Vos 
family.” 

[289] 


38 


MASTERS  IN  ART 


Later,  this  picture  passed  into  the  gallery  of  the  landgrave  of  Hesse  at 
Cassel.  It  was  carried  off  by  the  French  in  1806,  afterwards  was  in  the 
galleiy  at  Malmaison,  and  finally  was  acquired  by  the  Hermitage  Gallery  at 
St.  Petersburg.  It  measures  about  four  feet  five  inches  by  six  feet,  and  is 
signed  and  dated,  16+3. 

ITHE  DINNER  OF  APES’  PLATE  VI 

Here  we  have  an  excellent  example  of  those  comic  pictures  of  apes  which 
Teniers  was  so  fond  of  painting,  dressed  like  men  and  imitating  their 
manners.  We  see  again  the  interior  of  a tavern,  but  rather  of  the  better  sort. 
Seated  at  a round  table  covered  with  a handsome  table-cloth  are  two  old  apes 
and  two  younger  ones.  One  with  a clay  pipe  stuck  through  his  hide  looks  out 
at  the  spectator  and  raises  his  glass  of  wine;  the  other  is  about  to  cut  a loaf 
of  bread,  while  a young  ape  holds  out  his  pewter  dish  for  some  of  the  piece  de 
resistance,  which  fills  a huge  platter  in  the  center  of  the  table,  while  still  a 
founh  is  draining  his  glass.  In  the  foreground  in  the  center  sit  three  apes  on 
the  floor  eating  raw  oysters,  while  another  on  the  left  is  opening  them  and 
putting  them  on  the  grill  ready  to  broil.  As  is  usual  in  Teniers’s  tavern  pic- 
tures of  men,  there  is  a secondary  group  around  the  fire,  where  one  old  ape  in 
kitchen  apron  and  cook’s  cap  is  stewing  something  in  two  big  kettles  over  a 
blazing  fire.  Shelves  and  hooks,  supporting  bottles  and  jugs,  line  the  walls, 
and  there  are  evidences  of  former  accounts  having  been  chalked  upon  the 
w’alls  — details  one  soon  becomes  ver}’  familiar  with  in  Teniers’s  pictures. 

This  little  picture  so  naively  and  charmingly  painted,  with  high-lights  upon 
the  white  table-cloth,  feather  plumes,  the  hoar}’  beards  of  the  apes,  and  upon 
their  jackets,  caps,  and  aprons,  is  now  in  the  Munich  Gallery.  It  measures 
only  about  ten  and  a half  bv  fourteen  inches,  and  is  signed  but  not  dated. 

There  is  an  amusing  anecdote  told  by  Michiels  which  is  quite  a propos  of 
this  piaure:  “Influenced  by  public  admiration,  a favorite  chamberlain  of 
Louis  XIV.,  named  Bontemps,  wished  to  give  the  monarch  an  agreeable  sur- 
prise. He  bought  for  the  cabinet  of  the  prince  several  pictures  of  Teniers  and 
placed  them  there  without  saying  an)thing.  The  king  enters,  looks  at  them, 
and  exclaims:  ‘Remove  all  those  baboons!’  Bontemps  was  very  disappointed. 
But  the  stocky  Braban9ons  of  the  Flemish  painter,  habitually  drunk,  more 
than  rustic,  could  not  please  the  majestic  patron  of  Racine  and  Boileau.’’ 

‘THE  FLEMISH  KERMESS’  PLATE  VII 

Michiels,  in  his  ‘Hlstolre  de  la  Pelnture  Flamande,’  thus  naively  de- 
scribes plate  VII : “It  is  one  of  those  village  fetes  which  the  author  pro- 
duced, but  I doubt  if  he  has  executed  one  more  beautiful.  Before  a public- 
house,  where  a magnificent  tree  stands  erect  between  mo  buildings,  a player 
of  the  bagpipe  has  climbed  up  upon  a cask  and  blows  with  all  his  might.  To 
the  right  and  left  the  people  are  seated  at  table  amusing  themselves.  The 
peasants  have  danced  a part  of  the  day,  two  by  tw’o,  one  couple  following  an- 
other, not  to  tire  themselves  too  much  at  first,  and  afterwards  to  have  time  to 
[290] 


TENIERS  THE  YOUNGER 


39 


drink,  eat,  and  refresh  themselves  in  the  interval  — an  excellent  custom  which 
permits  the  Flemings,  as  of  old,  during  I know  not  how  many  hours,  to  absorb 
so  much  solid  food  and  so  much  liquid.  In  the  midst  of  these  pleasant  alter- 
natives, the  sun  has  set,  the  light  has  taken  golden  tones  which  embellish  all 
objects.  It  is  no  matter!  Two  rustics  still  frisk  to  the  sound  of  the  music. 
A couple  seated  in  the  foreground  watch  them  with  much  attention;  the  peas- 
ant, who  has  for  his  whole  costume  a shirt  fastened  at  the  w’aist  by  the  girdle 
of  his  pantaloons,  has  passed  his  left  arm  behind  the  neck  of  a young  girl  in  a 
red  jacket;  and  both  in  this  familiar  attitude  are  only  occupied  with  the  steps, 
more  or  less  light,  to  which  the  dancers  are  devoting  themselves.  But  a young 
countryman,  enamored  without  doubt  of  the  belle,  does  not  at  all  approve  of 
the  liberty  which  she  allows  his  rival  to  take  in  public.  Seated  on  a bench, 
his  back  leant  against  a cask,  he  casts  from  under  his  hat  somber  glances  at 
them,  which  express  his  jealousy.  An  incident,  happily,  is  going  to  distract 
his  attention,  to  throw  into  the  fete  a little  variety. 

“Upon  the  left,  near  a bridge,  rises  the  Chateau  of  Tours,  a chateau  which 
has  at  least  one  tower  and  two  annexes;  it  borders  upon  a river  with  sinuous 
currents,  gleaming  in  the  w’arm  rays  of  the  sun.  It  is  behind  the  manor-house, 
in  fact,  that  the  sun  has  disappeared,  illuminating  the  whole  sky.  The  noble 
family  who  Inhabit  it  have  leisurely  partaken  of  a good  meal,  conversed  freely 
upon  a thousand  subjects,  and  feel  the  need  of  breathing  the  fresh  air,  of 
taking  a little  exercise:  they  have  proposed  going  to  see  the  Kermess,  and  have 
set  out.  The  young  man  with  the  blonde  locks,  his  wife, elegantly  dressed,  and 
their  children  are  just  leaving  their  heavy  coach;  they  enter  from  the  right 
with  an  air  of  distinction  quite  remarkable;  the  lady  is  followed  by  a young 
page  who  carries  the  train  of  her  dress.  They  have  not  been  seen  yet,  and  the 
attention  of  the  crowd  has  not  been  directed  toward  them. 

“Such  is  the  simple  episode  of  which  Teniers  has  known  how  to  make  a 
chef-d'oeuvre.  In  spite  of  the  golden  tone  of  the  color,  we  read  upon  it  the  date 
of  1652,  as  upon  the  beautiful  picture  of  the  Belvedere,  ‘Archduke  Leopold 
shooting  Birds.’  It  w^as  for  the  painter  a happy  year.  The  color  has  an  ex- 
ceptional vigor;  the  shadows  are  very  strong,  with  approaches  to  brown.  We 
can  imagine  nothing  more  beautiful  than  the  effect  of  the  sun  setting  behind 
the  manor.  The  people  and  the  accessories  have  an  extraordinary  relief.  As 
if  to  show  all  his  dexterity,  the  painter  has  juxtaposed,  without  the  least  transi- 
tion in  the  foreground,  the  shirt  of  the  amorous  villager  and  the  clear  red 
jacket  of  his  sweetheart,  giving  them  a marvelous  fineness  of  tone  and  a 
surprising  brilliancy.  Witn  the  gray  breeches  of  the  countryman  and  the 
brown  skirt  of  the  peasant  woman,  this  forms  a group  of  colors  so  brilliant, 
so  distinguished,  so  original,  and  so  harmonious  that  nature  has  not  produced 
any  combinations  more  suave  and  more  striking. 

“The  canvas  is  of  large  dimensions  for  a work  of  Teniers;  it  is  a little  more 
than  two  meters  in  wddth  by  a meter  and  a half  in  height.  I have  seen  this  pic- 
ture, in  1866,  at  the  house  of  Mme.  Boxhaert,  at  Antwerp;  since  then  the  Bel- 
gian government  has  acquired  it  for  the  Museum  of  Brussels,  for  125,000 
francs.” 


[2911 


40 


MASTERS  IN  ART 


‘THE  KITCHEN’  PLATE  VIII 

Here  we  have  the  interior  of  a well-furnished  kitchen.  In  the  middle  is 
seated  a housewife  with  a basket  of  apples  by  her  side,  which  as  she 
peels  she  places  in  a pan  which  a small  boy  holds  up  to  her.  To  the  left  is  a 
table  upon  which,  amongst  other  things,  is  a magnificent  meat-pie  surmounted 
bv  a sw’an.  Upon  a bench  and  upon  the  floor  are  a hare,  game,  a quarter  of 
meat,  and  a skewer  of  little  birds,  waiting  to  be  cooked;  from  the  ceiling  are 
suspended  some  fowl;  while  on  the  right  are  fish,  a kettle,  and  some  liquor 
cooling  in  a metal  basin.  In  the  background  are  several  servants,  one  of 
whom  is  basting  fowls  cooking  upon  spits. 

“This  picture,”  says  Smith,  “is  above  all  interesting  for  the  details.  The 
fish,  the  fowls,  the  pots,  the  basins,  are  treated  with  a minutiae  quite  remark- 
able when  w’e  consider  the  small  dimension  of  the  canvas.”  (It  measures 
about  one  foot  ten  inches  by  two  feet  seven  Inches.)  “The  shadows  and  the 
lights  are  happily  distributed;  the  background  alone  is  perhaps  too  clear;  the 
figures  are,  as  often  happens  with  Teniers,  a little  grim;  only  the  small  boy 
who  holds  the  plate  for  his  mother  is  certainly  a portrait  of  the  time,  lively  and 
amiable.”  The  canvas  is  signed  and  dated,  16+4. 


‘THEPAY.MENTOFTHEBILL’  PLATEIX 

WE  see  represented  here  one  of  the  most  characteristic  subjects  of 
Teniers,  the  cabaret  or  tavern  scene.  In  a vaulted  room  the  light  falls 
from  the  left  upon  a group  of  five  men  seated  and  standing  around  a table  in 
the  foreground,  whilst  a servant  on  the  extreme  left  chalks  the  account  upon 
the  wall.  One  of  the  peasants  while  he  grasps  his  stein  in  one  hand  is  making 
up  the  bill  for  himself  on  the  table.  The  others  look  on  most  interestedly,  and 
the  one  standing  on  the  right  evidently  thinks  the  bill  has  come  to  too  much, 
for  he  stands  with  clenched  hands  and  his  clay  pipe  lies  broken  on  the  floor. 
The  middle  distance  is  more  or  less  in  shadow,  but  the  room  has  a deep  recess, 
and  in  the  background  on  the  right  we  have  one  of  those  secondary  groups 
which  Teniers  is  so  likelv'  to  introduce.  From  a high  window  a light  falls 
again  on  a group  of  men  chatting  with  a servant,  or  possibly  the  proprietress, 
before  the  chimney-piece.  She  apparently  is  cooking,  for  she  holds  a spoon  in 
her  hand  and  has  a bowl  of  batter  by  her  side. 

The  accessories  of  a shelf  wdth  bottles  and  pots  placed  upon  it,  some  jugs 
hanging  on  hooks,  and  a wine-glass  in  a recess,  to  say  nothing  of  the  jug  that 
stands  on  the  floor  and  the  pots  and  pans  which  catch  and  reflect  the  light 
from  the  foreground  on  the  right,  are  often  repeated  in  his  pictures;  in  fact, 
almost  the  identical  details  and  the  general  arrangement  of  the  composition 
are  found  in  at  least  three  pictures  in  the  Dresden  Gallery. 

The  original  is  in  the  Dresden  Gallery.  The  artist’s  signature,  D.  Teniers, 
can  be  read  on  the  floor  in  the  extreme  right-hand  corner  of  the  picture. 

[292] 


TENIERS  THE  YOUNGER 


41 


«THE  LIBERATION  OF  ST.  PETER*  PLATE  X 

This  so-called  ‘Liberation  of  St.  Peter’  is  an  example  of  the  absurdity  of 
Teniers’s  religious  pictures.  It  is  really  a misnomer,  and  should  be  called 
‘A  Guard-room,’  of  which  subjea  it  is  a most  excellent  and  realistic  presenta- 
tion. Nothing  could  be  better  individualized  than  the  expression  and  attitudes 
of  the  different  soldiers  gathered  round  the  table  plapng  trick-track,  of  the  one 
asleep  and  leaning  against  the  chimney-piece  while  his  companion  looks  up 
the  chimney.  The  way  the  figures  stand  out  in  relief  shows  the  marvelous 
draftsmanship  of  our  painter.  All  the  details  of  the  armor,  lantern,  jugs,  and 
the  usual  clay  pipe  on  the  floor  are  painted  with  great  care.  Only  the  figure 
of  the  angel  awaking  St.  Peter  and  pointing  the  way  of  escape,  seen  in  the 
background,  seems  fantastic,  and  more  like  a vision  than  a realit}'. 

This  picture,  also  in  the  Dresden  Gallery,  measures  about  one  foot  ten 
inches  by  nvo  feet  ten  inches,  and  is  signed. 

A LIST  OF  THE  PRINCIPAL  PAINTINGS  BY  TENIERS  THE  YOUNGER 
WITH  THEIR  PRESENT  LOCATIONS 

Austria.  Vienna  Gallery:  The  Archduke  Leopold  William  bringing  down  the 
Bird;  The  Archduke  Leopold  William’s  Picture  Gallery;  The  Old  Man  with  the 
Kitchen  Maid;  Village  Wedding;  Robbers  plundering  a V'iUage;  Peasants  shooting  with 
Bows  and  Arrows;  The  Sausage-maker;  and  others — BELGIUM.  Antwerp  Museum: 
Panorama  of  Valenciennes;  Flemish  Peasants  drinking;  Morning;  Afternoon;  Old  Woman 
cutting  Tobacco — Brussels  Museum:  The  Five  Senses;  The  Village  Doctor;  Flemish 
Landscape;  The  Flemish  Kermess  (Plate  vii);  Interior  of  the  Archduke  Leopold  Will- 
iam's Galle*y;  Temptation  of  St.  Anthony;  Portrait  of  a Man  in  Black — ENGLAND. 
London,  National  Gallery:  A Music  Party;  Boors  regaling;  The  Misers;  Players  at 
Trick-track;  An  Old  Woman  peeling  a Pear;  Teniers’s  Chateau  at  Perck  (Plate  ii); 
The  Four  Seasons  (four  pictures);  River  Scene;  The  Surprise;  Dives,  or  the  Rich  Man 
in  Hell;  The  Village  Frte  (Fete  aux  Chaudrons);  The  Toper  — London,  Bridgewater 
Gallery:  Alchemist  in  his  Laboratory;  Village  Wedding;  Kermess;  Peasants  playing 
Cards;  Boors  playing  Cards;  Same  Subject;  A View  in  Fbnders,  Winter  — London, 
Buckingham  Palace:  Dutch  Peasants  merry-making;  Boors  playing  Cards;  Kitchen 
Interior;  Landscape  with  a Chateau  and  Figures;  Le  Tambour  Battant;  The  Alchemist; 
and  others  — London,  St.  John’s  Lodge:  Robbers  plundering  a Farmhouse;  Card-play- 
ers; Landscape  with  Peasants  carousing  — London,  Dulwtch  Gallery:  The  Prodi^ 
Son  as  Swineherd;  Brick-making  in  a Landscape;  Figure  of  a Pilgrim;  Figure  of  a Fe- 
male Pilgrim;  A White  Horse  with  a Chaff-cutter;  A Castle  and  its  Proprietor;  The 
Guard-room — London,  Hampton  Court*Palace:  Interior  of  a Farm,  and  several 
copies  and  pasticcios  — FRANCE.  Paris,  Louvre:  St.  Peter’s  Denial;  The  Prodigal 
Son  with  Courtesans  (Plate  iv);  The  Seven  Works  of  Mercy;  Temptation  of  St.  An- 
thony; Village  Festival;  An  Inn  by  a River;  Peasanu  dancing  before  an  Inn;  Alehouse 
Interior;  The  Same  Subject;  Heron-hawking;  The  Smoker  (Plate  i);  The  Knifegrinder; 
The  Piper;  Portrait  of  an  Old  Man;  The  Soap-bubbles;  and  Twenty-one  in  the  La 
Caae  Collection  — GERM.A.NV.  Berlin  Gallery:  An  Alchemist  in  his  Laboratory; 
The  Backgammon  Players;  Teniers  and  his  Family;  Tempution  of  St.  Anthony  (Plate 
III);  The  Sacrament  of  the  Miracle  of  St.  Gudula;  A Party  at  Table;  Kermess;  The 
Rich  Man  in  Hell  — Dresden,  Royal  Gallery:  A V'illage  Fair  (signed  and  dated 
1641);  Peasants  in  an  Alehouse;  A Young  Man  sitting  near  an  Overturned  Cask;  Lib- 
eration of  St.  Peter  (Plate  x);  Peasants  drinking  and  playing  Cards;  Great  Kermess; 
Peasants  at  Dinner ; The  Payment  of  the  Bill  (Plate  ix) — Munich  Gallery:  Scene 
in  a Tavern;  The  Same  Subject;  The  Alchemist  (a  portrait  of  himself);  Four  Views  of 

[293] 


42 


MASTERS  IN  ART 


the  Archduke  Leopold  William’s  Gallery;  Great  Fair  before  the  Church  of  Santa  Maria 
deirimprunata,  Florence;  A Peasant  smoking;  The  Dinner  of  Apes  ( Plate  vi ) ; The 
Cat  Concert;  and  others  — HOLLAND.  Amsterdam,  Royal  Museum:  The  Guard- 
room;  The  Hour  of  Rest;  Village  Inn;  Temptation  of  St.  Anthony;  Kermess;  The 
Farm;  The  Players  — The  Hague  Gallery:  The  Alchemist;  The  Kitchen  (Plate  vin) 
— IRELAND.  Dublin,  National  Gallery:  Hustle  Cap;  Peasants  merry-making  — 
ITALY.  Florence,  Uffizi  Gallery:  St.  Peter  weeping  (pasticcio);  Man  and  Old 
Woman  at  an  Inn  — RUSSIA.  St.  Petersburg,  Hermitage  Gallery:  Procession  of 
the  Arquebusiers  Guild  at  Antwerp  (Plate  v);  Guard-room;  Village  Festival;  Wedding 
Feast;  The  ‘Angel’  Inn;  Kermess;  Card-players;  and  very  many  others — SCOT- 
LAND. Edinburgh,  National  Gallery:  Peasants  playing  Skittles — Glasgow  Gal- 
lery: Woody  Landscape;  Flemish  Landscape;  Milking-time;  A Hunting  Party;  The 
Miseries  of  War;  Jealousy;  A Surgical  Case;  St  Jerome;  Peasants  before  a Fire;  Land- 
scape with  figures;  and  three  others,  pasticcios  — SPAIN.  Madrid,  The  Prado:  The 
Ninepins’  Players;  Village  Festival;  Le  Roi  Boit;  The  Alchemist;  A Surgical  Operation; 
Temptation  of  St.  Anthony;  Picture  Gallery  of  the  Archduke  William;  The  Story  of 
Armida,  in  twelve  pictures;  and  many  others. 


Ceitirrs  tlje  younger  33iJ)liog;rapi)j> 

A LIST  OF  the  principal  BOOKS  AND  MAGAZINE  ARTICLES 
DEALING  WITH  TENIERS  THE  YOUNGER 

BRYAN’S  Dictionary  of  Painters  and  Engravers.  London,  1905  — Catalogue  du 
Musee  d’ Anvers.  1874  — Champlin,  J.  D.  Cyclopedia  of  Painters  and  Paint- 
ings. New  York,  1887  — Dafforme,  J.  Pictures  by  Great  Masters.  London  [1874]  — 
Encyclopaedia  Britannica  — Galesloot,  L.  Quelques  renseignements  concernant  la  famille 
de  P.  P.  Rubens  et  le  deces  de  David  Teniers  (in  Academie  d’archeologie  de  Belgique). 
Antwerp,  1867  — Geffroy,  G.  La  Belgique.  Paris  [1905] — Geffroy,  G.  The 
National  Gallery.  Paris  [1904] — Kugler,  F.  T.  Handbook  of  Painting,  German, 
Flemish  and  Dutch  Schools.  London,  1874  — Lafenestre,  G.,and  Richtenberger,  E. 
La  Hollande.  Paris  [1898]  — Lafenestre,  G.,  and  Richtenberger,  R.  La  Belgique. 
Paris  [1896'] — Lafenestre,  G.,  andRiCHTENB  erger,  R.  Nationale  Museum  of  the 
Louvre.  Paris,  1894 — Lubke,  W.  Outlines  of  the  History  of  Art.  New  York,  1904  — 
Reynolds,  Sir  J.  Literary  Works.  London,  1901  — Rooses,  M.  Geschichte  der  Maler- 
schule  Antwerpens.  Munich,  1889  — Ruskin,  J.  Modern  Painters.  New  York  [1895] 
— Smith,  J.  Catalogue  raisonnee  of  the  Works  of  the  Most  Eminent  Dutch,  Flemish 
and  French  Painters.  London,  1841  — Van  Dyke,  J.  C.  Old  Dutch  and  Flemish  Mas- 
ters. Engravings  by  Timothy  Cole.  New  York,  1895  — Vermoelen,  J.  Notes  histo- 
riques  sur  David  Teniers  et  sa  famille.  (Extrait  de  la  Revue  historique  nobiliare).  Paris, 
1870  — Vermoelen,  J.  Teniers  lejeune,  sa  vie,  ses  oeuvres.  Antwerp,  1865 — Waagen, 
G.  F.  Galleries  and  Cabinets  of  Art  in  Great  Britain.  London,  1857  — Wauters,  A.  J. 
The  Flemish  School  of  Painting.  London,  1885  — Wurzbach,  A.  David  Teniers  der 
Jiingere  (in  Dohme’s  Kunst  und  Kiinstler,  etc.)  Leipzig,  1878. 

MAGAZINE  ARTICLES 

Art  journal,  1853:  Great  Masters  of  Art.  Teniers  the  Younger — Century, 
1895:  T.  Cole;  David  Teniers  the  Younger — Harper’s  Magazine,  November, 
1878:  E.  Mason;  David  Teniers  the  Younger  — Zeitschrift  fur  bildende  Kunst, 
1901:  M.  Rooses;  Die  vlamischen  und  niederlandischen  Meister  in  der  Ermitage  zu  St. 
Petersburg.  David  Teniers.  1870:  W.  Bode;  Die  Baderstube,  nach  D.  Teniers. 

[294] 


M ASTE  RS  IN  ART 


F.  W.  KALDENBERC’S  SONS, 95  new”vork 

MANUFACTURERS  OF 

Filit'  siiul  Ki'iar  Pip(‘§ 

This  cut  represents  one  of  our  most  desirable  French  Briar  Pipes;  it  is 
“ Masterful”  in  every  respect.  Very  easily  cleaned  and  cannot  get  out  of 
order.  The  amber  is  simply  pushed  into  the  aperture  and  slightly  turned,  so  as 
to  wedge  it  in  position.  We  will  forward  this  prepaid,  delivery  guaranteed,  to 
• part  of  the  world  on  receipt  of  One  Dollar,  which  is  one-balf  the  regular 
lue,  or  the  same  pipe  in  finest  quality  of  Meerschaum,  including  a fine  leather 
e,  for  $4.00.  Catalogues  sent  on  application. 


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AMBER  MOUTHPIECE 


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I 6nd  it  of  value  in  the  $tudy  of  handling 
of  architectural  texturea  — brick,  mortar,  tile, 
stone,  stucco,  etc.;  indeed,  in  everything  pertain- 
ing  to  architecture  it  is  invaluable. 

My  professors  in  the  Art  Department  of  Stan- 
ford* University  and  my  fellow  students  there 
have  unanimoualv  expressed  their  approval  of 
the  book.  W.  GILMORK  BEYMORE 

Stanford  University,  Cal. 

I have  used  the  hook  in  connection  with  the 
course  in  Pen-and-ink  given  at  the  Institute  of 
Technology  by  Mr.  Gregg,  and  consider  it  ad- 
mirable in  eveiy  way.  It  shows  a most  compre- 
henMve  grasp  of  the  subject,  and  this  combined 
with  iu  well-chosen  illustrations  should  be  of 
sufficient  imi>ortance  alone  to  make  it  a necessity 
in  every  architect’s  library. 


Bates 

& 

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Publishers 

42  CHAUNCY  ST. 
BOSTON,  MASS. 


Absolute  Proof  of  the 
Superiority  ot 
Frink’s  Picture  Reflectors 

CARNEGIE  INSTITUTE 

Pittsburgh,  Pa. 

In  the  new  art  galleries,  recently  completed, 
we  installed  about  2,600  feet  of  our  special 
Art  Gallery  Reflector. 

BROOKLYN  INSTITUTE 
OF  ARTS  AND  SCIENCES 
In  the  addition  recently  completed  we  in- 
stalled about  600  feet  of  the  same  type  of 
reflector. 

BOTH  GALLERIES 
were  originally  lighted  with  these  reflectors. 
Our  Reflectors  were  again  chosen,  in  spite  of 
competition  from  nearly  every  other  scheme 
of  lighting. 


I.  P.  FRINK 

551  PEARL  ST.,  NEW  YORK  CITY 

GEO.  FRINK  SPENCER,  Manager 
Telephone 


BRAUN’S 

CARBON 

PRINTS 


FINEST  AND  MOST  DURABLE 
IMPORTED  WORKS  OF  ART 


NE  HUNDRED  THOUSAND  direct 
reproductions  from  the  original  paintings 
and  drawings  by  old  and  modern  masters  in  the 
galleries  of  Amsterdam,  Antwerp,  Berlin,  Dres- 
den, Florence,  Haarlem,  Hague,  London,  Ma- 
drid, Milan,  Paris,  St.  Petersburg,  Rome, 
Venice,  Vienna,  Windsor,  and  others. 

Special  Terms  to  Schools. 


BRAUN,  CLEMENT  & CO. 

256  Fifth  Ave.,  bet.  28th  and  29th  Sts. 
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12  X 17  inchcj 


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17  X 12  incbo 


MILLET 


SURRENDER  OF  BREDA  VELASQUEZ 

17  X 14  inches 


Price,  Si. 00  Each 

ll^iL  ANNING  to  present  in  the  fall  of  1906  a series  of 
|lli|  large  reproductions  of  great  masterpieces,  we  asked 
tlie  subscribers  of  Masters  in  Art  to  assist  us  in  a choice 
of  subjects  by  submitting  lists  of  the  ten  greatest  master- 
pieces of  painting.  Several  thousand  lists  were  sent  in, 
.ind,  glided  by  these,  we  selected  the  ten  paintings  repro- 
duced at  small  scale  on  these  pages. 

The  destruction  by  fire  of  the  reproductive  apparatus 
in  November,  and  the  necessity  of  waiting  until  new  equip- 
ment could  be  imported  from  Germany  and  installed,  has 
delayed  the  production  of  these  prints*  but  we  are  now 
able  to  offer  a limited  number  for  delivery  during  the 
fall  months. 

BATES  & GUILD  COMPANY 


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On 


PORTRAIT  OF  MONA  LISA 

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j^JjN  order  to  advertise  these  prints  and  create  a demand 


for  them  the  coming  fall  and  winter,  we  shall  issue  a 

limited  number  of  introductory  sets  on  special  terms  to 
those  subscribers  of  Masters  in  Art  who  first  place  their 
orders.  Owing  to  the  time  required  by  the  process,  we 
cannot  supply  these  special  sets  to  all  subscribers,  and 
therefore  will  enter  orders  as  received  only  for  the  number 
of  sets  it  is  possible  to  produce  during  the  summer  months. 
If  interested  write  immediately  for  full  particulars. 

Orders  for  one  or  more  prints  at  the  regular  price  of 
$1.00  each,  if  accompanied  by  remittance,  will  be  filled 
at  the  same  time  as  special  orders  for  complete  sets. 


42  CHAUNXY  STREET,  BOSTON 


SYNDICS  OF  THE  CLOTH  GUILD  REMBRANDT 
17  X II  inches 


PRINTS 


THE  I.M.MACULATE  CONCEPTION  MURILLO 


IX  X 17  inches 


THE  FIGHTING  Te'mERAIRE  TURNER 


17  X ij  inches 


DANCE  OF  THE  NYMPHS  COROT 

17  » inches 


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F.  W.  Devoe  & Co.’s  Artists’  Tube  Colors 

ARE  THE  STANDARD  QUALITY 

Used  by  all  prominent  artists  and  sold  by  all  first-class  dealers 
Also  BRUSHES  and  other  ARTISTS’  MATERIALS 

F.  W.  DEVOE  & C.  T.  RAYNOLDS’  CO. 

NEW  YORK  CHICAGO  KANSAS  CITY 


MASTERS  IN  MUSIC 

“The  Aristocrat  of  Musical  Publications” 


“ Happily  conceived  and 
finely  executed.”  - Mu.ti- 
ritl  Record  and  Reciew. 

“Only  word.s  of  praise 
are  required  to  describe 
it.” — The  Presto. 

Six  \'oLrMEs 

F^ull  green  cloth,  beveled 
boards,  gold  back  stamp. 
•Si 5.00,  express  paid. 


“ Without  exception  the 
finest  publication  of  the 
kind  that  has  ever  come  to 
our  notice.” — Cadenza. 

“A  superb  musical  li- 
brary.”— Rochester  Herald. 

Terms 

$.‘1.00  with  order  and  bal- 
ance in  six  monthly  pay- 
ments of  $-2.00  eac  h. 


lAst  nf  mbjectfi  and  full  information  on  request 


BATES  & GUILD  CO.,  Boston,  Mass. 


THE  UNIVERSITY  PRINTS 


Are  the  only  reproductions 
published  in  inexpensive 
form  for  the  systematic  study 
of  Greek  and  Italian  Art. 
One  cent  each,  or  eighty 
cents  per  hundred.  Catalog 
on  request. 

Publishing  Department 
BUREAU  OF 
UNIVERSITY  TRAVEL 
i8  Trinity  Place 
Boston,  Mass. 


Low  Price 

This  beautiful  Sun-dial  Ped- 
estal of  real  stone,  including 
solid  cast  bronze  dial,  complete, 
for  $40. (X3.  Freight  guaranteed 
not  to  exceed  $3.00.  41  in.  high. 
Dial,  in.  square. 

Bronze  Dial,  alone,  $15.00,  to 
suit  your  latitude. 

CHAS.  G.  BLAKE  & CO. 

Makers  of  Garden  Furniture  and  High^last  Monuments 

789  Women’s  Temple  Chicago 


Specia 


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